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Travis Cline

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About Travis Cline

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  • Birthday 04/26/1977

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  • Occupation
    Cinematographer

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  1. Unfortunately not for what we are doing. I'd love to just use tungsten as all of these problems would go away, but it's a really big setup and at high speed. Shame. I do love the 9Ks though. Nice light.
  2. Thanks all. I'm shooting in Mallorca Miguel. Are you from Madrid? I lived in Madrid when I was younger. I've been told by my gaffer that they don't have anything bigger than a 10K on the island in tungsten lights. We have 1000hz ballasts, but they don't make any for lights bigger than 9K. We are going to shoot tests. We are going to try the 18K Arrimax's lights with a 300hz ballast because they tend to give less flicker in general. My first AC said in Spain you can generally shoot up to 200 fps without getting flicker. We'll see.
  3. Hi all, I'm shooting a commercial in Spain next week and we are shooting quite a bit of it in high speed. We are continuing a pre-existing campaign and the agency wants to shoot at 240 fps. Not a problem when we are outside, but we have a day interior scene to shoot. Correct me if I'm wrong, but we can shoot up to 220 fps under HMI light without getting flicker, no? Above 220 fps, ie 240 fps, we would have to use tungsten right? Thank you everyone. Travis
  4. It doesn't give a ton of flexibility to it that way. Plus you have to be in just the right position to the sun and I can't control it myself which I find crucial with lens flares because a cm in either direction can make huge difference in the quality and strength of the flare.
  5. I sometimes use led flashlights in my hand close to the lens to create lens flares. I like having it in my hand so I can bring the flare in and out as I like. It works well and I like the effect, but I need to find a much stronger one so I can use for ext day scenes(or any scene where I am stopped down or ND'd down quite a bit). The usual LED flashlights that are in the 90 lumen range just don't work in those situations. Does anyone know of or use a flashlight that is more in the 900 lumen range(or more) that is still small enough to hold in one hand and manipulate while shooting? Any suggestions would be great. Thank you all!
  6. Frank is not exaggerating, it is a very rough environment. You'll have more fill light than you know what to do with. You can get sunburnt from above(the sun) and from below(the reflection off the salt). Salt will destroy anything it touches, so keep it clean. The only time you would need lights is if you are shooting around dusk which people often do out there. It's really beautiful out there though at anytime of the day which is great. If you need any crew from Utah let me know, I know some great guys.
  7. When shooting 16:9 on the Alexa what is the ratio, as far as lense size, between 35mm and the Alexa? I'm shooting a spot this week on the Alexa and we need to find out some very specific lense lengths that we need. Production can't afford a set of lenses for the tech scout so I'll have to rely on my Mark V viewfinder. Wondering what the difference will be between the two formats, if any. I know they are similar, but need to know if there is any difference at all. Thanks everyone. Travis
  8. So I have a two day spot coming up on the Alexa and part of it is underwater. We'll be in a pool somewhere in LA, location is not locked down yet. I'll be scuba diving, but we won't be going very deep, I'd say 15' max. Has anyone used the Alexa with an underwater housing? The one that Hydroflex makes looks nice, but might be overkill for what we are doing. Any suggestions or insights?
  9. I know, it's weird, but no complaints from me. Thanks for the explanation. Travis
  10. If you don't mind David, would you explain how you created your second LUT for your overcast and smokey look? Did you do it with the shot of the Clairmont girl or through IRE numbers only? Also, thank you for sharing info about the Alexa, I keep having projects start with it and then we end up shooting 35mm for one reason or another, so I have not gotten to use it yet. Travis
  11. Doing a shot on an upcoming spot where a man points his stills camera toward our lense and takes a photo with his flash. We are shooting 35mm. Anyone know of a slower burning flash that will show up on camera everytime? I've done this type of shot with the older type flashes that have a replaceable bulb, but with modern flashes I've just had to settle for either getting it or not getting it the way you would gunfire. Any suggestions? Thanks all. Travis Cline
  12. We are shooting a spot in Mallorca soon and we want to shoot some Super 8. Does anyone know of somewhere in Spain, or nearby, that develops Super 8? Also, is there a place in Spain that sells Kodak stocks in Super 8, aside from the stocks Kodak typically sells? I'd love to find somewhere that sells the 7213 or 7207 recut to fit a Super 8 camera. Thanks all Travis
  13. Thank you all, it is much appreciated. Travis
  14. Can you change the image you record to Black and White on the Sony EX3? I would love to do it to the original image to avoid anyone from changing it to color in post. If not, I need to at least see it in black and white on set. Is there a way to change the on-board monitor to black and white? I will have an additional monitor with me, but it is a fairly run and gun type documentary shoot and will not be able to look at the monitor all the time so having the on-board monitor look somewhat accurate would be a great help. Thanks all. Travis
  15. What would a typical day rate be for a cinematographer on a non-fiction, documentary type shoot for the BBC? I realize that is a broad question with possibly quite different rates depending on the dop, the show, etc., but I'm just looking for some rough answers. Thanks all. Travis
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